Connie A. Shemo
The history of East Asian religions in the United States is inextricably intertwined with the broader history of United States–East Asian relations, and specifically with U.S. imperialism. For most Americans in the 19th and into the early 20th centuries, information about religious life in China, Japan, and Korea came largely through foreign missionaries. A few prominent missionaries were deeply involved in the translation of important texts in East Asian religions and helped promote some understanding of these traditions. The majority of missionary writings, however, condemned the existing religions in these cultures as part of their critiques of the cultures as degenerate and in need of Christianity. In the late 19th and early 20th centuries, when the women’s foreign mission movement was the largest women’s movement in the United States, women missionaries’ representations of East Asian religions as inherent in the oppression of women particularly reached a large audience. There was also fascination with East Asian religions in the United States, especially as the 20th century progressed, and more translations appeared from people not connected to the foreign mission movement. By the 1920s, as “World Friendship” became an important paradigm in the foreign missionary movement, some missionary representations of East Asian religions became more positive, reflecting and contributing to a broader trend in the United States toward a greater interest in religious traditions around the world, and coinciding with a move toward secularization. As some scholars have suggested, the interest in East Asian religions in the United States in some ways fits into the framework of “Orientalism,” to use Edward Said’s famous term, viewing religions of the “East” as an exotic alternative to religion in the West. Other scholars have suggested that looking at the reception of these religions through a framework of “Orientalism” underestimates and distorts the impact these religious traditions have had in the United States. Regardless, religious traditions from East Asia have become a part of the American religious landscape, through both the practice of people who have immigrated from East Asia or practice the religion as they have learned from family members, and converts to those religions. The numbers of identified practitioners of East Asian religions in United States, with the exception of Buddhism, a religion that originated outside of East Asia, is extremely small, and even Buddhists are less than 2 percent of the American population. At the same time, some religious traditions, such as Daoism and some variants of Buddhism (most notably Zen Buddhism), have exercised a significant impact on popular culture, even while a clear understanding of these traditions has not yet been widespread in the United States. Some understanding of Confucianism as well has recently been spread through the propagation of “Confucian” institutes in the United States. It is through these institutes that we may see the beginnings of the Chinese government exercising some influence in American universities, which, while not comparable to the impact of Christian missionaries in the development of Chinese educational institutions in the late 19th and early 20th centuries, nonetheless can illuminate the growing power of China in Sino-American relations in the beginning of the 21st century.
While the term “East Asian” religions is frequently used for convenience, it is important to be aware of potential pitfalls in assigning labels such as “Western” and “Eastern” to religious traditions, particularly if this involves a construction of Christianity as inherently “Western.” At a time when South Korea sends the second largest number of Christian missionaries to other countries, Christianity could theoretically be defined as an East Asian religion, in that a significant number of people in one East Asian country not only practice but actively seek to propagate the religion. Terms such as “Eastern” and “Western” to define religious traditions are cultural constructs in and of themselves.
Emperor Tri Songdétsen (Khri Srong lde brtsan; 742–c.800
The basic contours of Tri Songdétsen’s life and work may be gleaned from contemporary administrative records and from the king’s own inscribed pillar edicts and their accompanying paper documents. These describe how he was enthroned as a fourteen-year-old boy after his father was assassinated in the course of a revolt. They also give Tri Songdétsen’s reasons for officCially supporting Buddhism, and mention some of the opposition that he faced. As accounts of the concerted introduction of Buddhism to Tibet, Tri Songdétsen’s edicts constitute a clear forerunner to later Tibetan “histories of the Dharma” (chos ’byung) that would become a standard medium for Tibet’s Heilsgeschichte from the 11th century to the 21st. In this way, Tri Songdétsen also played a key role in the genesis of Tibet’s unique form of Buddhist historiography.
Ironically, the very historiographical traditions that Tri Songdétsen inaugurated in Tibet would in subsequent centuries come to express an ambivalent attitude toward the emperor’s central role in the establishment of Buddhism. Although he was lionized shortly after his death and in the century that followed, in Buddhist histories and hagiographies from the 12th century onward, Tri Songdétsen is eclipsed by the figure of the yogin Padmasambhava, who is credited as the real agent in the conversion of Tibet. Within this new narrative, the king is somewhat ineffectual in his commitment to Buddhism, such that his failure to follow Padmasambhava’s instructions eventually accounts for Padmasambhava’s departure from Tibet and for all sorts of future calamities that befall Tibet, its monarchy, and its people.
The subordination of Tri Songdétsen to Padmasambhava is part of a larger movement by which kings receded from Tibetans’ devotional emphasis and from their daily lives, and by which the figure of the lama ascended to cultural paramountcy. In particular, it reflects a shift in devotional emphasis across the 11th to 13th centuries from the cult of Emperor Songtsen Gampo (Srong rtsan sgam po; c. 605–649), who was viewed as an emanation of Tibet’s protector bodhisattva, Avalokiteśvara, to that of the yogin Padmasambhava, revered as an emanation of the Buddha Amitābha. Tri Songdétsen became a supporting player in Padmasambhava’s hagiography and cult, as one of his twenty-five disciples, and was also refigured as an emanation of the bodhisattva Mañjusrī. It is in this guise that Tri Songdétsen is remembered within Tibetan cultural memory and within Tibetan Buddhism more generally from the 12th century to the 21st.
The Indian Buddhist philosophers Dignāga (c. 480–540
Asian American religions have dramatically increased their presence in the United States. Partly, this is a function of the increasing population of Asian Americans since 1965.
Asian American is a name given to the United States residents who trace their ancestry back to the area of Asia from Pakistan in the west to the Pacific islands east of the Asian landmass. There are over 18 million Asian Americans in the United States (about 6 percent of the national population), and Asians are immigrating to the country at rates that far exceed those for any other group.
Other names have been taken, given, or forced upon Asian Americans. Such terms as “Chinese or Japanese imperial subjects” heightened a unity of political and religious obedience to a divine emperor. “Oriental” started as a French idealization of the Confucian state before descending to the level of being an epithet for backwardness.
Immigrants come with nationalities like Chinese, Japanese, Korean, Indian, and so forth that often intervene into religious discourses (see an example of this process in the Chinese American experience as described by Fenggang Yang (Chinese Christians in America. University Park: The Pennsylvania State University Press, 1999). In the 1970s the name Asian American was popularized by West Coast intellectuals in order to gather forces at the barricades of political and racial movements. Some scholars like Michael Omi and Howard Winant (Racial Formation in the United States. From the 1960s to the 1990s. New York: Routledge, 1994) claimed “Asian American” as a racialized reality, which was the result of racial conflicts innate to American society. Others saw the identity as an ethnic claim to assimilation into American cultural reality.
Asian immigrants and their progeny find ways to balance out the religious, national, ethnic, racial, and other identities from their homeland, new nation, and religion. “Asian American” has also become a common-sense meaning that was institutionalized by the U.S. census. But one should remember that many layers of names sit upon Asian American houses of worship as so many barnacles telling tales of ancestral honors, woes, and self-reflections.
Over three-quarters of Asian Americans profess a religious faith. About a quarter say that they are “religious nones,” that is, either having no particular religious faith or identifying as agnostic or atheist. About half of the “nones” actually have religious beliefs and ethics and practice them as an intrinsic part of Asian American culture, not as something that is “religious.”
Two-thirds of religious Asian Americans are Christians. This is not surprising when we take into account the rapid growth of Christianity in the non-European world. Asian Americans are contributing to the “de-Europeanization” of American Christianity and signal the increasingly religious direction of the 21st century.
Other Asian American religions include Hinduism, Buddhism, Islam, Sikhism, Jainism, Zoroasterism, new Japanese religions, and many more.
The history of Asian American religions involves a dynamic interplay of the United States and Asia, global politics, democratic revolutions, persecution in Asia, racism in the United States, Supreme Court cases, and religious innovation.
The largest Asian American groups, those with 1–4 million people each, trace their ancestry back to Japan, China, Philippines, Vietnam, India, and Korea. Seven smaller groups have over 100,000 people each: Bangladeshis, Burmese, Cambodians, Hmong, Laotians, Pakistanis, and Thais. And there are many more smaller groups.
The diverse ethnic and national origins of Asian Americans means that their religions have a kaleidoscope of religious styles and cultures.
Craig R. Prentiss
With the slow realization that race was not a category in nature, but rather the fruit of social imagination emerging from colonialism, scholars in the late 20th century shifted their focus to the cultural elements feeding that imagination, including religion and the arts. Although most studies in the field address fairly conventional constructions of religion and the arts (two categories that, like race, have also been destabilized), some studies reveal the potential for these three categories to be co-constituting. Studies addressing religiously themed music, including spirituals, gospel, hip-hop, and a significant portion of country music, have shed light on the ways in which these genres encode and inform racial paradigms. Portraits in theater, dance, and film of ideas and practices associated with Christianity, Judaism, Buddhism, and other social groupings have proven active sites for the production of influential, and often competing, conceptions of race. Stereotypes linking religious and racial classifications are perpetuated as well as challenged in these artistic media. Given that the racial imagination in the United States is articulated using the language of color, painting and sculpture have been instrumental in conveying vivid connections between race and religion. For instance, many paintings celebrating Christianity’s triumph over America’s indigenous people concurrently depicted white dominance over them as well. A theological system rooting skin color in divine decree, like the Church of Jesus Christ of Latter-day Saints did in its Book of Mormon, helped assure a fair-skinned and fair-haired Jesus would populate its art. The politics of Jesus’ color continued to be played out in painting and sculpture in the United States to the present day, and exemplifies the interaction of racial, religious, and artistic categories.
Mañjuśrī (“Gentle Glory”) is one of the oldest and most significant bodhisattvas of the Indian Mahāyāna Buddhist pantheon. Mañjuśrī is the personification of the Mahāyāna notion of prajñā (wisdom): discriminating insight into the nature of reality, and the hallmark philosophical insight that distinguished the Mahāyāna movement from earlier Buddhist schools (Nikāya) of thought. Like discriminating insight, Mañjuśrī is ever new. He is typically portrayed as a golden-complexioned, sixteen-year-old crown prince holding in one hand a flaming sword that cuts through ignorance, and a Perfection of Prajñā book (Prajñāpāramitā Sūtra) in the other.
In Mahāyāna sutras, Mañjuśrī is often cast as the interlocutor whose pointed questions to the buddha elicit the teachings their audience needs to finally understand the subtlest points of doctrine. His earliest known appearance is in the corpus of early Mahāyāna works translated into Chinese by the Indo-Scythian monk Lokakṣema (b. 147
This rhetorical strategy was developed in subsequent Indian Buddhist sūtras and commentaries, especially those that promulgated new or controversial teachings. Scholars from all of its schools claimed direct visions of the bodhisattva of wisdom; “to see Mañjuśrī” denoted the subject’s unmistaken insight into the buddha’s teaching. Mañjuśrī worship entered esoteric Buddhism (Tantra) in the 7th-century Mañjuśrīmūlakalpa—one of the earliest extant Indian Tantras—and reached its zenith in the early 8th-century Mañjuśrīnāmasaṃgīti, a liturgical text praising Mañjuśrī in all his forms. Its close association with the 10th-century Kālacakra Tantra, perhaps the last Tantric text to be composed in India, underscores how thoroughly Mañjuśrī pervaded esoteric Buddhism in South Asia.
As a figure of cult worship, Mañjuśrī was most prominent outside of India. By the 5th century, the Chinese Wutai shan (“Five Terrace Mountain”) was understood to be his earthly residence, and a magnet for pilgrims who sought a vision of the crown prince. Mañjuśrī became identified as the patron deity of China during the Tang dynasty, thereby setting a pattern for subsequent rulers of China, who often linked their own legitimacy to Mañjuśrī, and visibly promoted his worship at Wutai shan. This practice crystallized during the long reign of the Manchus (1611–1912), who not only portrayed their rulers as emanations of the crown prince, but fostered the folk etymology of their ethnonym as deriving from Mañjuśrī. Tibetan Buddhism was at its apex there, and Mañjuśrī and his mountain home become important to Tibetans, Nepalese, Khotanese, and Mongols.
Paul B. Donnelly
Along with Yogācāra, Madhyamaka (Middle Way) is one of the two foundational doctrinal systems of Indian Mahāyāna Buddhism, which flourished from the 3rd century
The name “Middle Way” references a fundamental assumption in Buddhism that stakes a middle position between the idea that the self is an irreducible, enduring entity and one in which it is wholly reducible to the physical body and perishes after death. Though central Madhyamaka ideas, such as the doctrine of the Two Truths, Dependent Origination, and Emptiness, can be found in Nikāya Buddhism and in Mahāyāna sutras, it is in the treatises of Nāgārjuna (2nd–3rd centuries
James B. Apple
The etymology of the Sanskrit and Pāli term pāramitā was a contested issue in classical India. One representation considered that the term was derived from pāram, “other (side),” plus the past participle ita, “gone.” This derivation is later preserved in the standard Tibetan translation pha-rol-tu phyin-pa, “gone to the other shore,” implying that such virtues lead to the blissful shore of nirvāṇa and away from the side of saṃsāra, the conditioned world of repeated rebirth and redeath. Other interpretations advocated that this etymology was misguided, and derived pāramitā from the term parama, “excellent, supreme.” The noun pāramitā is translated in early Chinese through “double translation” composed by tu wu-chi, meaning “crossed over” (tu) plus “limitless” (wu-chi), which brings together both of the traditional etymologies.
The conception of the perfections as a specific set of practices is not found in the earliest layers of Buddhist literature. Rather, the perfections as a set of practices developed sometime before the common era as an alternative group of spiritual practices in conjunction with revised notions of buddhahood as well as newly considered notions of what constitutes the path leading to buddhahood. The lists of perfections varied according to the genre of literature in which they appeared. What practices constituted the varied lists of perfections and how the perfections were conceived differed not only among groups but also among scholarly authors. The perfections appear in Buddhist literature as a group in varying lists, but the lists of perfections are notoriously unfixed, with six and ten perfections being the most common. The Theravāda tradition recognizes ten, although only eight are listed in the Buddhāpadāna and seven in the Cariyāpiṭaka. The ten perfections in the Theravāda tradition are (1) generosity (dāna), (2) morality (sīla), (3) renunciation (nekhamma), (4) insight (pañña), (5) energy (viriya), (6) patience (khanti), (7) truthfulness (sacca), (8) resolution (adhiṭṭhāna), (9) loving-kindness (metta), and (10) equanimity (upekkhā). This list differs from the list of ten perfections found in Buddhist Sanskrit literature. A set of six perfections became common among some genres of mainstream Buddhist literature and developed into a standard list in a number of Mahāyāna sūtras. However, other lists of four, five, or seven perfections also occurred. In time, a set of six perfections became standard in Mahāyāna sūtras. The six are (1) generosity (dāna), (2) morality (śīla), (3) patience (kṣānti), (4) vigor (vīrya), (5) concentration (dhyāna), and (6) wisdom (prajñā). This list was expanded to complement the ten stages (bhūmi) traversed by a bodhisattva in the course leading to full buddhahood. The additional perfections were (7) skill-in-means (upāya-kauśalya), (8) resolution (praṇidhāna), (9) strength (bala), and (10) knowledge (jñāna). The manner in which the perfections were understood in different Buddhist cultures, such as in East Asia, Tibet, or Southeast Asia, was dependent on the Buddhist literature that was accessible or acceptable to the particular culture and the interpretative attention given to that literature.
Roger R. Jackson
Mahāmudrā, “the Great Seal,” is a Sanskrit term (Tibetan: phyag rgya chen po) that connotes a wide range of concepts and practices in Indian Mahāyāna and, especially, Tibetan Buddhism, most of them directly or indirectly related to discourse on ultimate reality and the way to know and achieve it. The term first appeared in Indian tantric texts of the 7th or 8th century
A jātaka story narrates an episode in a past life of the Buddha. Such tales are found in a variety of Buddhist texts, the largest and best known of which is the Jātakatthavaṇṇanā, a collection of almost 550 stories in the Pāli language preserved by the Theravāda school. Jātaka stories emphasize the Buddha’s great abilities as visionary and storyteller, and illustrate moral lessons, the workings of karma, or the perfections required for the attainment of buddhahood. A focus of a large number of stories is the ideal of generosity, which, for an aspiring buddha, includes being prepared to give away one’s own children, or the flesh and blood from one’s own body. In addition to their widespread presence in texts, jātaka stories have been depicted at Buddhist stūpa and temple sites since before the beginning of the Common Era, and continue to be a popular form of Buddhist visual art to this day. They also play an important role in the cultural life of some Buddhist countries, inspiring literature, theater, opera, and other art forms. Their place in the Buddha’s sacred biography gives them a special symbolic value, which is behind some uses of the stories in art and ritual. The Vessantara-jātaka, understood in Theravāda tradition as narrating the Buddha’s penultimate human birth and his acquisition of the perfection of generosity, takes on a particularly important role in artistic, ritual, and festive contexts. In addition, there is evidence to suggest that the jātaka genre as a whole had an important role in the formation and communication of ideas about buddhahood, karma and merit, and the place of the Buddha in relation to other buddhas and bodhisattvas.